But Anka did record a song with the same melody, “Sunshine Baby,” which showed as a B-side of a 1964 German single. It rose to #45 in the Top Hundred in 1960, though I don’t remember it ever being played on oldies radio. Alas, he didn’t sound so much like a “Bad Boy” as the boy next door. [8] The singer is also considered a gay icon and has "repeatedly declared that her most devoted friends and fans are gay". Her cover’s okay, but not a match for Ochs’s. It’s a little surprising that Hardy found the song, but then, she’d been sniffing out flop singles and little-known foreign sides for her entire career. MOJO, Collections, French Pop Winter 2001. It’s a little different hearing this sung by a young woman rather than a more experienced man (Brassens was in his early-to-mid-thirties when he recorded it), which puts an interesting different spin on the record. On an album also featuring such Young classics as “Southern Man,” “Only Love Can Break Your Heart,” and “Don’t Let It Bring You Down,” it sounded almost like a tacked-on afterthought. It’s easy, incidentally, to confuse this with another track Hardy recorded around the same time, “Tous Ce Qu’On Dit” (see next entry), which prominently uses the words “Je T’Aime” in the chorus. So how did it make its way to Françoise? Again, the answer’s probably producer Tony Cox, who worked on Taylor’s LP as well as the 1972 album by Hardy. “Kiss and Run” didn’t make the national charts (and nor did any of Skel’s other records), but according to one youtube clip, it made #6 on the chart of Chicago radio station WLS in early 1965. She also sang the English-language version, “Sunshine,” on a 1970 English-language LP (titled Alone in the US), using the same backing track. It was a little reminiscent of the girl group-cum-British Invasion pop being generated by Dusty Springfield, Lulu, and Sandie Shaw at the time, though Jones would never have a UK or US hit. Loves to perform. Oh Oh Cheri (French EP, Vogue, July 1962), Original version: Bobby Lee Trammell (as “Uh Oh,”), 1958, Included on Hardy’s first EP, “Oh Oh Cheri” was a perky early-‘60s teen idol-type pop-rocker with a lickety-split beat. Your email address will not be published. This seems to have appeared on a radio-only promo 1970 single and a Spanish 45. Overall, however, this is one of the closest Hardy’s covers comes to scoring as more or less a tie with the original. Indeed, it’s one of her most decisive victories in the covers vs. originals department. While Hardy’s covers were often more cool, calm, and collected than the originals, here’s an instance where Skel actually sounds a bit more reserved, and Françoise a little more emotive and yearning. “Only You Can Do It” is their best record, and one that could just about pass as an actual US girl group 45. Oh! Her blog, Spiked Candy, is at spikedcandy.com. Dating from well before the rock era, “La Mer” was first issued back in 1946 by Charles Trenet, a quite popular French singer-songwriter who—certainly these days—is little known outside his native land. Ver 1. Continue. As a reader notes in the comments section, “It’s possible that FH found ‘Tiny Goddess’ via the ’67 recording of the Jackpots, a popular band in Sweden. Remarkably (again with the exception of that late-‘60s English-language album), very few of these were US or UK hits. There’s also a neat passage where it slows down dramatically for the finale without sounding contrived. It sold over a million copies and was awarded a gold record. Hardy’s version has the edge for its far greater, more relaxed playfulness, though there’s not so much you can do with a song so slight. In its original incarnation, “Oh Oh Cheri” was “Uh Oh,” a spry but mild 1958 US rockabilly single by one Bobby Lee Trammell, who didn’t make the charts with this record or any other. It’s a much more mainstream, relatively harder rock treatment. Although the song hadn’t been a US or UK hit for anyone, by the time it appeared on Hardy’s 1972 album, it had been covered so much it was nearly a standard. “Son Amour S’Est Endormi” is Hardy’s adaptation of the traditional German folk song “Alle Nächte.” It can’t said for certain which version or record she might have learned this from, or if she even learned it from a performance or recording, traditional folk songs often passing on through other means. I am working on fixing this issue. Her recording of the song "Il n'y a pas d'amour heureux", composed by Louis Aragon, is played in the Norwegian film Tatt av Kvinnen (2007). Her vocal’s a hell of a lot more frivolous than Hardy’s, as you’d definitely expect. The song had first been recorded as “The Way of Love” by British singer Kathy Kirby in 1965. [11] When asked about her shyness in an interview with John Andrew, broadcast on BBC Radio 4 in 2011, she said:[11]. At a guess, it seems quite likely Hardy became aware of the song since Trees had also recorded at Sound Techniques, where their The Garden of Jane Delawney album had been co-produced by Tony Cox, who also produced most of Françoise Hardy aka If You Listen. Yet I didn’t change a thing. ", Innocence in Amber: Wes Anderson's Moonrise Kingdom, Balenciaga Fall 2005 Ready-to-Wear Collection on Style.com: Runway Review, https://en.wikipedia.org/w/index.php?title=Françoise_Hardy&oldid=1010172253, Creative Commons Attribution-ShareAlike License, "Only You Can Do It" ("Je veux qu'il revienne"), "Just Call and I'll Be There" ("Le Temps des souvenirs"), Midnight Blues: Paris, London, 1968-72 (2013), "Tous les garçons et les filles" and "Le Premier Bonheur du jour" in, "Amours toujours, tendresses, caresses" in, This page was last edited on 4 March 2021, at 04:02. But if you’re not a fan of Italian ‘60s male-sung pop (I admit I’m not) and a fan of Françoise Hardy (as you likely are if you’re reading this), you’re certain to like her version better. Although he wrote much of his own material, he also covered songs by Lee Hazlewood and Fred Neil. (The EP, rather than the two-song 45, was the dominant format for record releases in France at the time.). Listeners all over the globe will instantly pick up its resemblance to vintage Shadows hits like “Apache.” Without the words that were later added, the melody of “Fort Chabrol” sounds a lot more like the Latin pop standard “Besame Mucho” as well. Il N’y a Pas d’Amour Heureux (French EP, circa late 1967). His recording of the song from that time is stark. In 1963, she represented Monaco in the Eurovision Song Contest, finishing fifth with "L'amour s'en va". Though her choice of songs often testified to her good taste, by taking on artists who were much were well known than, say, the Joys or Samantha Jones, she was inviting far more unfavorable comparisons to the originals. We begin with a song from her very first release, which was one of the very first she recorded in a studio. There’d be less occasion for this to happen between mid-1964 and 1967, when she’d record in London instead. La Mésange (French LP Françoise Hardy, 1968; titled Comment te Dire Adieu on CD reissue), Original version: Quarteto em Cy & MB-4 (as “Sabia”), 1968, and/or Cynara & Cybele, 1968. It’s hard to imagine her or anyone else she worked with stumbling across it in a shop. How to play The Bells of Avignon (B-side of UK 45 “Soon Is Slipping Away,” 1970), written by Tony Macaulay. (Thanks again to Christine, who runs the blog Spiked Candy,  for sending information Sandy Alpert’s original version.). ), Catch a Falling Star (French En Anglais EP, Pye single UK, circa early 1964), It was a testament to Hardy’s popularity that, within a couple of years of her first release, she was recording in English (and other languages besides French) as well as her native tongue. In 1966 Napier-Bell became the Yardbirds’ manager. Drake, in Hardy’s words, “was truly the champion of inhibition.” Additionally, observed Françoise in MOJO, “Nick seemed—and was no doubt—so shy, so wrapped up in himself, that in retrospect I’m astonished that he managed to come and see me two or three times, even knowing that I appreciated his enormous talent.”. Françoise Madeleine Hardy (French pronunciation: ​[fʁɑ̃swaz madlɛn aʁdi]; born 17 January 1944) is a French singer-songwriter. American girl groups, early rockabilly, pre-Beatles British rock’n’roll, country stars, pre-rock French chanson, Italian pop, Dusty Springfield, US and UK singer-songwriters, early-‘60s teen idols and instrumental rock, folk, folk-rock, even a bit of doo-wop and soul—all and some more were fair game for Françoise. It’s also listed as a song he co-wrote  with Don Costa (an A&R man at the ABC-Paramount label where Anka had his early hits) on Anka’s Songwriter’s Hall of Fame page. The original starts off promisingly with growling guitar, but the production is overall thinner and more cornily dated than Françoise’s version, and Little Tony’s vocal a little hoarse and overwrought. With her signature breathy alto, she was one of the earliest and most definitive French participants in the yé-yé movement (a style of pop music that initially emerged from Italy, Switzerland, Spain, and Portugal before spreading to France in the early 1960s). Her song "All Because of You" was covered by Jessica Sula and appeared in the first episode of the sixth season of Skins. Nonetheless, I have to admit I like Bardot’s version of “La Fin de L’Été” better. Retrouvez ici toute son actualité en vidéo ! And as to how they ended up in France in the first place, Jones told Record Collector in 2010, “I joined this band who were offered a tour backing up this French singer, so we went over to France and I immediately fell in love with this girl…As you do (laughs). It’s just not nearly as over-the-top, vocally or instrumentally, as Lynn’s (to its credit) was. In my view—and with so many Françoise fans, there are bound to be many who disagree—this record showed her slipping distressingly further into less interesting middle-of-the-road pop. “The Ocean” was one of their more memorable early tracks, the haunting tune decorated by eerie keyboard/guitar sounds. Hardy’s version isn’t too different from Alpert’s, and is one of the more faithful of her covers to the original arrangement. And like “Il Ragazzo Della Via Gluck,” albeit in a different fashion, it was a little unconventionally structured for a pop song, moving into a different melody and tempo for the chorus that could have almost been airlifted from another composition. For that matter, I haven’t been able to find out much about the song in general. Apr 2, 2019 - This Pin was discovered by Suzy Fairchild. Chords: Gm, D, G, A, D#, Dm. Free Hours at the Japanese Tea Garden in Golden Gate Park, Pre-Official Debut Recordings of Major 1960s Rock Artists, Socially Responsible Investment in the Biden Years: What to Expect, and What to Demand, Top 20 (And a Bit More) Rock Reissue Albums of 2020, Goin' Back: David Crosby, Roger McGuinn, and Chris Hillman, The Electric Banana: The Pretty Things By Any Other Name, Sculptures in San Francisco's Cayuga Park, Outside the Gates of Eden: An Interview with Author Lewis Shiner, Galactic Ramble: An Interview with Editor/Publisher Richard Morton Jack. This 1958 Top Ten hit was a lovelorn acoustic ballad with ghostly backing vocals and something of a cowboy western feel, like the song of heartbreak the leading man would sing as he rode his horse out of the town he’d just rescued. Most of Hardy’s 1971 LP—easily her strongest post-mid-1960s album, not to mention one of the all-time makeout records—featured songs written by herself (usually in collaboration with Brazilian singer-songwriter-guitarist Tuca) or by Tuca with Hardy or other composers. It’s sort of neat how the bridge is quite different from the verses, going into a more uplifting, hopeful, yet yearning mood as she anxiously anticipates a reunion with the Avignon boy she left behind. Soul :: Neil Young Covers, 1967-1978 Françoise Hardy :: Till the Morning Comes I’m also solely covering covers from her first and best decade or so of releases, spanning 1962 to 1972. As a duo and under different names, the pair also made some uneven records on their own, including some really good mod-pop-psych ones, like “With Love from 1 to 5” (credited to the State of Micky & Tommy), “Frisco Bay” (also credited to the State of Micky & Tommy), and “There She Goes” (credited to the J. [23] Even if it’s only to ask for additional copies of this record. American and British listeners will recognize the melody, as with English lyrics by famed songwriter Johnny Mercer, it was changed into “Autumn Leaves.” Recorded by many singers, including Jo Stafford, Frank Sinatra, and Nat King Cole, it became a standard and, in an instrumental version by pianist Roger Williams, a #1 hit in 1955. And Hardy might have brought an interesting, if not necessarily better, dimension to Drake’s tunes that would have been absent from Nick’s own renditions. Tous Ce Qu’On Dit (French LP Françoise Hardy, 1965), written by Françoise Hardy & Tommy Brown. Although I have a half-dozen or so Patsy Cline compilations, it doesn’t appear on any of them, and I didn’t hear this original version until I prepared this article. More Versions. About the only hint of melodic ambition comes at a part in the verse where the tune briefly augments in a minor direction. There might not be any relationship between “Avant de T’en Aller” and Distel’s “Ne Dis Rien” besides the melody. Another major figure in pre-rock French pop who will likely be unfamiliar to English-speaking readers, Georges Brassens set a poem by Louis Aragons to music for “Il N’y a Pas d’Amour Heureux” in the mid-1950s. When you’re writing, you just sing whatever comes in your head. [1][5] The early 1970s also marked the beginning of Hardy's renowned involvement with astrology, becoming an expert and writer on the subject over the years. Use a mixing console in Pro version. Her vocal again makes this a decisive triumph—indeed rout—over the Jones original, especially in the beguiling husky low tones of the verses and the almost forlorn, wistful ones she breaks into after the orchestral crescendos. However this all went down, Françoise’s version is easily superior to Anka’s more sentimental delivery, with understandably labored pronunciation given he’s singing in a language not his own. I Think It’s Gonna Rain Today (French LP Françoise Hardy, 1972; titled If You Listen on CD reissue), Original version: Judy Collins, 1966 and/or Randy Newman, 1968. Nonetheless, it’s my feeling that Hardy’s covers of these are A) not very good, and B) not worthy of extended individual comment. It’s even hard to determine whether Collins’s interpretation was the first, as according to at least one source, it was preceded by an unlikely version from operatic balladeer Julius La Rosa. But then, what was typical of her output, or certainly of her covers? It’s a bit of a false alarm, as the track’s a rather lighthearted mix of music-hall bounce and sunny early-‘70s mainstream rock. Discover (and save!) Proby (as “Just Call and I’ll Be There”), 1965. (As it things couldn’t get any worse in that department, the French version also is given an oh-so-slightly different title, “Bowm Bowm Bowm.”), (Several years after I first published this post, I became aware that Tommy Brown actually recorded this song first, under yet another title, “Bowm Bowm Bomm.” Sung in English, it’s on his rare solo LP Wednesday’s Children, released in October 1971, for which he billed himself as Thomas F. Browne. I also recall someone saying Nirvana’s recording got considerable play on pirate radio stations in the Channel.”, Original version: Keith Relf (as “Shapes in My Mind”), 1966, This peculiar track only counts as a half-cover, perhaps. As to how she ended up working with Jones and Brown, she told Kieron Tyler in the liner notes for the CD reissue of her 1965 album, “I knew Tommy Brown and Mick Jones because they were working for Johnny [Hallyday] and Sylvie [Vartan]. The title song for Hardy’s 1970 LP Soleil has a source so obscure I didn’t become aware of it until more than a year after I originally posted this article. I haven’t been able to find one by Cynara & Cybele, but did locate the rendition by Quarteto em Cy & MB-4. As much as she excelled at melancholy songs of heartbreak, here she sounds innocent and chipper, failing to project the genuine forlorn desolation that Nelson did—and quite well—in his hit original. “Fort Chabrol” is kind of cool, if extremely derivative of the Shadows. With his chum Vicki Wickham, he also wrote “Never Learn to Cry,” which with more tweaking from Hardy became “Mon Monde N’est Pas Vrai,” a track on her 1970 album Soleil. Very similar to Fairport Convention in approach (even to the point of featuring a woman singer, Celia Humphris), Trees made little commercial headway before breaking up, though (as a recent cover story in Flashback testifies) they have an enthusiastic cult following today. Ver 1. Apr 12, 2013 - francoise hardy playing guitar with some frenchies, paris, 60's. She’d recorded in London on numerous previous occasions, of course, but this time, there seems to have been a conscious attempt to penetrate the international market, as almost all of the songs were in English. Hardy is definitely a better singer and recording artist than Bardot, who really did records (and quite a few of them) as a kind of adjunct to her principal career as an actress, often with an irreverent playfulness suggesting she wasn’t taking her musical endeavors too seriously. More crucially, however, this indicates that Hardy might have heard the instrumental version that one of the two composers of the original “It Hurts to Say Goodbye,” Arnold Goland, issued on a single circa 1967. On his own and with others, British songwriter Tony Macaulay’s long career took in some of the most pop-oriented rock hits of the late 1960s and early 1970s. Avant de T’En Aller (French EP, December 1963). Hardy’s version isn’t radically different, also employing the kind of acoustic guitars and female backup vocals Brown used on his single. [11], After a year at the Sorbonne, she answered a newspaper advertisement looking for young singers. Some searing low-volume distorted guitar somehow squeezes through the door in the final half-minute. Comment te Dire Adieu (French LP Françoise Hardy, 1968; titled Comment te Dire Adieu on CD reissue), Original version: by Vera Lynn (as “It Hurts to Say Goodbye”), 1967, or Arnold Goland (as “It Hurts to Say Goodbye”) circa 1967. Play song with guitar, piano, bass, ukulele. As composer Beverly Martyn sang it with restrained stateliness, and light orchestration was deployed, it’s understandable if it was thought to be a natural for Françoise to tackle, given she often blended similar ingredients. E35D78A2-CB61-4AF9-AFA2-B756A04E36EA And she’d record this song in English under its original title as well. It seems possible, and maybe even likely, that Hardy was also—or even only—familiar with a French-language cover by Italian woman singer Dalida in 1966. “La Fin de L’Été” (“The End of the Summer”) was, in contrast to much of her output, easygoing and upbeat. With his sunny brand of slightly rockabilly-influenced, country-influenced pop-rock, he had three UK Top Ten hits in 1962-63, along with a half-dozen smaller hits in the early-‘60s. Can’t Get the One I Want (French LP Françoise Hardy, 1972; titled If You Listen on CD reissue). I’ve already described many songs in this post (whether by Hardy or others) as sad, wistful, and melancholy. Actually, while “Lonesome Town” was a big hit for an early rock’n’roll star (Ricky Nelson), it wasn’t exactly rock’n’roll even in its first incarnation. The arranger for Alpert’s version was Jimmy Wisner, who worked with many hit artists. She did put different arrangements to them, but they were fairly disastrous, drenching them in strings and generally removing their considerable edge, even on the Everlys and Elvis ballads. Her interpretation is okay, but not too different or imaginative, and a bit formulaic if there was such a thing on Hardy’s ‘60s records, the expected violins and cloudy-day choral vocals entering after the acoustic guitar-dominated opening sections. I find it a bit meandering and, yes, sentimental. Her breathy, whispery delivery is loads more appealing than Taylor’s stolid singing, which is very much in the most reserved “we’re British, no facial expression please” wing of UK folk-rock. When he had heard my first audition on tape—he hadn’t seen me yet—he [told me] my voice was exactly right for ‘Oh Oh Cheri.’ That was one—not the only—reason he signed me.”, Le Temps de L’Amour (French EP, December 1962), Original version: El Toro et Les Cyclones (as “Fort Chabrol”), circa early 1960s; possibly by Les Fantômes, January 1962. guitar com. Anchored around a captivatingly moody, descending circular riff, the brooding verses glide into forceful choruses with a pounding beat and dramatic orchestral punctuation. Released in February 1965 as the A-side of Samantha Jones’s second single (the B-side was also covered by Hardy; see above entry), “Don’t Come Any Closer” was another track more impressive for the production and song than her vocal. So he was a suitable collaborator for Hardy as she moved into more powerful, Spector-influenced sides in the mid-1960s. It’s infinitely more sensual, actually. I objected that Serge only wrote lyrics for his own tunes, but Lionel insisted and a meeting was arranged…He telephoned me several weeks later at the Savoy [Hotel] and read the opening part of ‘Comment te dire adieu’ (‘How Do I Tell You Goodbye?’) before coming to London to show me the rest of the song.”, Parlez-Moi de Lui (French LP Françoise Hardy, 1968; titled Comment te Dire Adieu on CD reissue), Original version: by Kathy Kirby (as “The Way of Love”), 1965, and/or Dalida, 1966. [10], Hardy was born and grew up in the 9th arrondissement of Paris with her younger sister Michèle. So chalk this up as one of the few outright missteps in her early discography, perhaps in a misguided attempt to break her into the English-speaking market. And while the arrangement isn’t that much different (no surprise as Blackwell oversaw both versions), Hardy’s track is considerably more powerful by that measure too, especially in the orchestral crescendos at the end of the choruses. Required fields are marked *. But I couldn’t find a Paul Anka recording called “Think About It,” or an Anka single from 1963 that sounded like “Avant de T’En Aller.”. Or Is That "Sid Barret"? Collection, No No: Not a Rockumentary, But a Dockumentary, British Invasion LP Covers: The UK Vs. the US, The Dave Clark Five PBS Special...And Beyond, Ain’t It Time We Said Goodbye: The Rolling Stones on the Road to Exile, The Velvet Underground & Nico: The April Fool's Version, San Francisco's Pacific Overlook and Batteries to Bluff Trail, Rock'n'Roll Trivia, Part One: Name That Guy, Arnold Earley: No Wins, One Loss, No Saves, Leaving Your Megabank: Breaking Up's Not Hard to Do, The Beatles Bootleg Recordings 1963 on iTunes. Which, to Françoise’s surprise, he agreed to do.”. She got it finished in a couple of takes and I pushed the session along far too quickly.” Napier-Bell still gets royalties from it, he added, “but it’s nothing to be proud of. In contrast, her interpretation is nimble and arresting, both vocally and instrumentally. A track so obscure that I don’t remember seeing it on any CD reissue, “La Mer” was first released on the 1965 German LP Portrait in Musik, a mixture of German-language songs with French-language tunes such as this one (and one English-language track thrown in for good measure). As noted in the entry on “Lonesome Town,” early rock’n’roll was a big formative influence on Françoise. Hardy’s cover is good-natured, but one of the few examples of an early-to-mid-‘60s recording of hers that doesn’t measure up to the original. Gothic backup vocals at the very opening (which recur throughout the track) make it evident it’s going to be gaudier than Hardin’s original, and understated orchestration also pushes this from folk-rock to baroque folk. The first artist of any kind (let alone a renowned one) to interpret Cohen’s songs, Collins put a few more on her next LP, 1967’s Wildflowers. Prior to this tour-de-force, Hardy had always stuck to American or British songs for cover choices. Like “Il Ragazzo Della Via Gluck,” it’s not one of my favorite Hardy tracks from the era, but I like it better than the original, as it’s almost like the more grating features have been sanded off into something more palatable. Bloody French, they’re a pain in the arse!”, Je N’Attends Plus Personne (French EP, circa mid-to-late 1964), Original version: Little Tony (as “Non Aspetto Nessuno”), 1964. The only other thing I’ve been able to find out about her is that she wrote the music for Well…Fair, described by New York magazine as a “street musical by Anne Roby” in its listing for its run at Cabaret 73 of the Manhattan Theater Club from October 5-9, 1972. "Tous les garçons et les filles" also appeared in the final episode of the 2015 British mini-series The Enfield Haunting. Understandably, not many people even know it’s a cover, since “Le Temps de L’Amour”—boasting an almost James Bond noirish feel, with snaky spy movie guitar—was based on an instrumental with an entirely different title. In Qualified Criticism of Expanded Editions, Père Lachaise Cemetery: Jim Morrison and the Graves Beyond, 1970: Baseball's Bumper Crop of Fluke Seasons, Days of Future Passed: 10 Surprising Rock Albums of the Late 1960s, Pink Floyd Concert on KQED-TV in San Francisco April 1970, Sgt. It’s not one of her greatest interpretations, either, her enunciation—and she seems to be struggling more with English-language lyrics than usual—getting submerged by the orchestra to some extent. Rêve (French LP Françoise Hardy, 1971; titled La Question on CD reissue), Original version: Taiguara (as “A Transa”), 1970. The horns are eschewed for tasteful piano trills, staccato guitar notes, ghostly female vocals, and expertly flung flecks of reverberant chords. Not because she’s a better singer or more creative, but because the material suits her better, and she brings a more appropriate approach to this rather lightweight piece of froth. “Although it was the producer who had invited me, not vice-versa, in desperation I asked him to let me take a copy of one American instrumental that was less gloomy than all the rest—its title was ‘It Hurts to Say Goodbye.’ When I returned home, I felt obliged to listen to it again and, against all expectation, immediately felt the click. I admit I don’t know how popular Tony was in Italy, but certainly he was unknown, then and now, to English-speaking audiences elsewhere. It would have been more proper to credit them as arrangers rather than writers. Less well known than the likes of Yves Montand and Georges Brassens, Michèle Arnaud had nonetheless been active on the French recording scene for quite some time by the late 1960s. Pro Play This Tab. There were oodles—well, at least dozens—of blatantly Phil Spector-influenced productions in the early-to-mid-1960s, many of them featuring the same kind of girl groups that Spector recorded. Hello, Mr. It must be said, however, that Hardy’s cover absolutely trounces Jones’s rendition. Even more weirdly, when the track appeared on one of Hardy’s 1963 French EPs, the title was given (in small type) in English as “Think About It” under the large-type title “Avant de T’en Aller” on the back cover. She does march into a more determined mode for the chorus, without taking the pile-on climax into grandstanding territory. Jones wrote the music (and Françoise the words) to Hardy’s “Je T’Aime,” a nifty pop-rocker adroitly mixing acoustic guitar power chords, a midtempo stomping rhythm, breathy vocals, and wistful minor-key female backup singers. According to the Françoise Hardy All Over the World website, “San Salvador” is a traditional song. Eats tuna fish sandwiches. If anyone outside of the UK is aware of the Vernons Girls, it’s likely because they were one of the several second-line (or more like third-line) British Invasion acts in the 1964 UK TV special Around the Beatles, in which the Beatles were naturally the headlining act. (possibly as “Think About It”), 1963; possibly Sacha Distel’s “Ne Dis Rien,” 1965? Much the same could have been said of Hardy’s cover. “When I Get Through With You,” however, wasn’t one of them. “Take My Hand for a While” wasn’t nearly as overexposed, though Glen Campbell had done it on his 1969 album Galveston. On this English version, Françoise omits one verse and, more oddly, sings “some day” instead of the “amen” heard at the end of the choruses in the original. Quite possibly I’ve missed a few songs she did that were previously released by other artists, especially among the handful of tracks she cut only in the German or Italian language. Before rising to fame as a key member of Foreigner, Mick Jones had a surprisingly long and varied career. Hardy’s French-language cover, “Comment te Dire Adieu” (whose lyrics were supplied by legendary French singer-songwriter Serge Gainsbourg), was really different than either of these predecessors—almost radically so. “Comment te Dire Adieu” is not just upbeat—it’s downright jaunty, with a light swing and pseudo-Herb Albert trumpet that almost puts it in bachelor pad music territory. Voir plus d'idées sur le thème guitare, cours de guitare, tablature. Virtually forgotten today, Whiting had been recording jazz, pop, country, and easy listening since the 1940s, and had a couple #1 hits in the late ‘40s with “A Tree in the Meadow” and “Slippin’ Around.” And she wasn’t totally off the scene by the mid-‘60s, landing a #26 single in late 1966 with “The Wheel of Hurt,” which topped the US easy listening charts.
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